Music, Liturgy, and Confraternity Devotions in Paris and Tournai, 1300-1550 (Eastman Studies in Music) (Volume 174)

The first study focusing on the composition of new plainchant in northern-French confraternities for masses and offices in honor of saints thought to have healing powersStarting in the fourteenth century, northern France saw the rise of confraternities and other lay communities of men and women, organized around trades and religious devotions dedicated to specific patron saints. The composition of new plainchant for masses and offices in honor of saints thought to have healing powers occupied an important place in the devotional landscape of the region. Sarah Ann Long's deeply researched new book highlights the decentralized nature of religious and spiritual authority from 1300-1550, which allowed confraternities to cultivate liturgical practices heavily influenced by popular devotional literature. It challenges pre-conceived notions of the power of the Catholic Church at that time, and the extent to which religious devotions were regulated and standardized. The resulting conclusion is that confraternity devotions occupied a liminal space that provided a certain amount of musical freedom. Examining musical culture at the intersection of the medieval and early modern eras, this work explores such subjects as manuscript production and early music printing; and it investigates not only plainchant, but a broad range of musical styles from the fourteenth through the sixteenth centuries. These include polyphonic embellishments of chant written by some of the most famous composers of the era, which were performed at the French, Burgundian, and Papal Courts. "Starting in the fourteenth century, northern France saw the rise of confraternities and other lay communities of men and women, organized around trades and religious devotions dedicated to specific patron saints. The composition of new plainchant for masses and offices in honor of saints thought to have healing powers occupied an important place in the devotional landscape of the region. Sarah Ann Long's deeply researched new book highlights the decentralized nature of religious and spiritual authority from 1300 to 1550. which allowed confraternities to cultivate liturgical practices heavily influenced by popular devotional literature. It challenges preconceived notions of the power of the Catholic Church at that time and the extent to which religious devotions were regulated and standardized. The resulting conclusion is that confraternity devotions occupied a liminal space that provided a certain amount of musical freedom. Examining musical culture at the intersection of the medieval and early modern eras, this work explores such subjects as manuscript production and early music printing, in the process investigating not only plainchant but a broad range of musical styles from the fourteenth through the sixteenth centuries. These include polyphonic works (based on traditional chants) that were written by some of the most famous composers of the era and were performed at the French, Burgundian, and papal courts." -- Back cover Starting in the fourteenth century, northern France saw the rise of confraternities and other lay communities of men and women, organized around trades and religious devotions dedicated to specific patron saints. The composition of new plainchant for masses and offices in honor of saints thought to have healing powers occupied an important place in the devotional landscape of the region.

Sarah Ann Long's deeply researched new book highlights the decentralized nature of religious and spiritual authority from 1300-1550, which allowed confraternities to cultivate liturgical practices heavily influenced by popular devotional literature. It challenges pre-conceived notions of the power of the Catholic Church at that time, and the extent to which religious devotions were regulated and standardized. The resulting conclusion is that confraternity devotions occupied a liminal space that provided a certain amount of musical freedom. Examining musical culture at the intersection of the medieval and early modern eras, this work explores such subjects as manuscript production and early music printing; and it investigates not only plainchant, but a broad range of musical styles from the fourteenth through the sixteenth centuries. These include polyphonic embellishments of chant written by some of the most famous composers of the era, which were performed at the French, Burgundian, and Papal Courts. Contents 8 Illustrations 10 Acknowledgments 16 Abbreviations 20 Editorial Procedures for Foreign Languages and Music Examples 24 Note on Online Material 26 Introduction 28 1 Confraternities and Popular Devotions to St. Barbara in Tournai 41 2 Relic Translation and Healing in Liturgies for St. Catherine and St. Nicholas in Paris 88 3 Historical Narratives and the Importance of Place in Masses for St. Sebastian 134 4 Compositional Practice, Networks, and the Dissemination of the Mass Ordinary in Confraternity Sources 173 5 The Role of the Parisian Book Production Community in the Perpetuation of Popular Devotions 208 Conclusion 236 Appendix 1. Sources 244 Appendix 2. Inventories of Sources from Tournai 250 Appendix 3. Scribal Hands and Gatherings in the Tournai Notary Confraternity Manuscripts 264 Notes 272 Bibliography 330 Index of Chant and Polyphonic Compositions 358 Index of Early Printed Liturgical Books 364 Index of Manuscripts 366 General Index 370